Vietnam Digital Essay
Proximity of terms, however—as "rags" to "pop bottle"—suggests that the liquid is combustible and that the object launched is a firebomb like those unleashed in 1965 on the streets of Los Angeles.The speaker bids sardonic well wishing from a place of destitution, and the blistering temperatures turn progeny into corporeal decay.Pan-African rituals blur into the violence of transatlantic slavery and again into the brutalities of the modern-day clinic.In this, her poems already shared elective affinities with Edwards's recombinant structures made of metal tools, stand-in body parts that amalgamate to resemble ceremonial masks rising from the junk heap of modern consumption.On August 11, 1965, when "rocks, bricks, and bottles" first erupted at the corner of 116th Street and Avalon Boulevard, and desperation unleashed scenes of uprising in Watts and elsewhere—with firebombs setting storefronts and overturned cars ablaze and law enforcement barricades confining the throng, followed by an escalating storm of tear-gas missiles, mass arrests, and slayings in what the at first called a "melee" and later "virtual guerilla warfare"—that day found staff reporter Rubén Salazar en route to his assignment in Vietnam to dispatch from the paper's Saigon bureau.One of two Mexican Americans at the , Salazar found opportunity in Vietnam to remark on the crisis in Los Angeles."The only way in or out is by helicopter," he specifies, and so the isolation has granted him time to think about conditions in Watts.Reading newspaper accounts of the National Guard's deployment in Los Angeles, Madison recalls the days when he was stationed at Camp Pendleton and—recently married at the time and with a first child—was unable to rent a house in Oceanside because of housing discrimination.
An eye-nipple nestles on a pair of breast-lips, overlapping vision and voluptuousness in a totemic ascent of glands, eyes, and nose.
The words betray oblique relation to the markings evocative of flaps and loops under an obtruding brush tip or traditional spearlike tool.
This interlacing submits that likeness is to remembrance as the commemoration of a son or a daughter is to History.
Then I think about being able to rent a house in Oceanside and I think about our being here to stop communism from spreading to the United States and I get confused." Having served in the armed forces for eleven years, Madison relates that by the time he left Camp Pendleton in 1963, California's Rumford Act had enabled him to secure a house in Oceanside and that "Gov. Being cooped up like we are here, surrounded by hostile forces, makes you uncomfortable, naggy and frustrated." At this juncture, a visual pause in the newsprint appears with a subheading, DIRECTS WHITE CREW, absorbing some of the impact of what follows, even as it drives the newsman's perspective home to Los Angeles.
Brown had done a lot to improve race relations." Salazar reminds the sergeant that the Rumford Act—the so-called Fair Housing law—had since been repealed. As Madison voices commands for his crew to supply additional mortar support—and with the phrase "uncomfortable, naggy and frustrated" still hanging in the air—the sergeant turns aside and to Salazar suggests, "Maybe that's what happened in Watts." 2.